The period from 1700 to 1790 is often referred to as the Age of Sentimentality. Steele (1672-1729), one of the most popular and controversial figures of this time, not only gained reputation as a dramatist, but also as a co-founder (with Addison) of the highly popular periodical The Spectator, in which questions of manners and social conduct were discussed, as well as moral issues and literature. His comedy The Conscious Lovers, which appeared at stage for the first time in 1722 and remained very popular throughout the following decades, was seen as a model for a new type of comedy, called ′Sentimental Comedy′.
Unlike Steele, who is one of the most prominent representative of the early decades of Sentimentality, Goldsmith (1730-1774) celebrated his finest literary success at the end of the sentimental period. When his comedy She Stoops to Conquer gained immediate appraisal on stage in 1773, the Age of Sentimentality already was in decline. How far Goldsmith and his comedy can be regarded as ′sentimental′ or ′anti-sentimental′ will be one question I would like to deal with in my essay.
The two authors, or rather their most important plays, are very interesting for they reflect, to some extent, the beginning and the end of Sentimentality and therefore provide us with an interesting insight into society, or rather the literary conception of society of that time.
Table of Contents
1. Steele’s The Conscious Lovers and Goldsmith’s She Stoops to Conquer. A Question of Sentiment.
2. Bevil Junior: An Exemplary Hero
3. The Contrast: Goldsmith’s Response to Sentimentality
4. Kate Hardcastle: Curing Marlowe
5. Conclusion
Objectives and Topics
This essay explores the literary evolution of 18th-century comedy by analyzing the transition from the "Sentimental Comedy" exemplified by Richard Steele to the reaction against it found in Oliver Goldsmith's works. The central inquiry focuses on how these authors utilized their plays to reflect shifting societal norms and literary conceptions of human conduct.
- The role of "Sentimental Comedy" in the early 18th century.
- Character development and the ideal of the "exemplary hero."
- Goldsmith’s critique of sentimental mannerism through satire.
- The influence of Restoration comedy on later dramatic structures.
- Gender dynamics and moral instruction in period literature.
Excerpt from the Book
Steele’s The Conscious Lovers and Goldsmith’s She Stoops to Conquer. A Question of Sentiment.
The period from 1700 to 1790 is often referred to as the Age of Sentimentality. Steele (1672-1729), one of the most popular and controversial figures of this time, not only gained reputation as a dramatist, but also as a co-founder (with Addison) of the highly popular periodical The Spectator, in which questions of manners and social conduct were discussed, as well as moral issues and literature. His comedy The Conscious Lovers, which appeared at stage for the first time in 1722 and remained very popular throughout the following decades, was seen as a model for a new type of comedy, called ‘Sentimental Comedy’.
Unlike Steele, who is one of the most prominent representative of the early decades of Sentimentality, Goldsmith (1730-1774) celebrated his finest literary success at the end of the sentimental period. When his comedy She Stoops to Conquer gained immediate appraisal on stage in 1773, the Age of Sentimentality already was in decline. How far Goldsmith and his comedy can be regarded as ‘sentimental’ or ‘anti-sentimental’ will be one question I would like to deal with in my essay.
The two authors, or rather their most important plays, are very interesting for they reflect, to some extent, the beginning and the end of Sentimentality and therefore provide us with an interesting insight into society, or rather the literary conception of society of that time.
Summary of Chapters
1. Steele’s The Conscious Lovers and Goldsmith’s She Stoops to Conquer. A Question of Sentiment.: This introductory chapter outlines the historical context of the Age of Sentimentality and sets the stage for comparing Steele and Goldsmith.
2. Bevil Junior: An Exemplary Hero: This chapter analyzes the character of Bevil Junior as the embodiment of sentimental virtue and his adherence to filial duty.
3. The Contrast: Goldsmith’s Response to Sentimentality: This section examines how Goldsmith utilizes wit and satire to move comedy away from the overly sentimental tropes established by his predecessors.
4. Kate Hardcastle: Curing Marlowe: This chapter focuses on the dynamic between Kate Hardcastle and Marlowe, illustrating how Goldsmith creates more realistic and self-confident characters.
5. Conclusion: The final chapter synthesizes the arguments, noting that while Goldsmith critiques sentimentality, his characters still bear traces of the literary period’s moral emphasis.
Keywords
Age of Sentimentality, Sentimental Comedy, Richard Steele, Oliver Goldsmith, The Conscious Lovers, She Stoops to Conquer, Bevil Junior, Kate Hardcastle, Restoration Comedy, Moral Instruction, Filial Submission, Literary Satire, 18th Century Drama, Virtue, Benevolence.
Frequently Asked Questions
What is the fundamental focus of this academic paper?
The paper examines the transition and conflict between the "Sentimental Comedy" movement and the subsequent reaction against it, using Steele and Goldsmith as primary examples.
What are the core thematic areas discussed in the essay?
Central themes include the changing societal conception of morality, the development of the "exemplary hero," the tension between virtue and realism, and the satirization of emotional mannerisms in drama.
What is the primary research objective?
The goal is to determine how Goldsmith’s work functions as an "anti-sentimental" response to the legacy of Steele and how both authors reflect the evolution of 18th-century social values.
Which scientific methodology is employed?
The author uses a comparative literary analysis, contrasting characters, plot structures, and authorial intentions between key plays from the beginning and end of the period.
What is covered in the main body of the work?
The main body investigates the character traits of Bevil Junior as a sentimental ideal, contrasts this with the comic devices and wit in Goldsmith's work, and analyzes the role of female leads in shaping male behavior.
Which keywords best characterize the study?
Key terms include Sentimentality, Sentimental Comedy, Restoration Comedy, Virtue, Satire, and the specific play titles, all of which define the scope of the literary comparison.
How does Steele’s Bevil Junior reflect the expectations of the 18th-century audience?
Bevil Junior represents the ideal of filial piety and rational emotional control, which was expected of a virtuous hero during the height of the sentimental movement.
Why does the author consider Steele’s reliance on Myrtle a "paradox"?
The paradox lies in the fact that Steele promotes an emotionally reserved, "perfect" hero but must use the more realistic and imperfect character of Myrtle to successfully generate empathy and emotion in the audience.
- Quote paper
- Martin Stepanek (Author), 2000, Steele's The Conscious Lovers and Goldsmith's She Stoops to Conquer. A question of sentiment., Munich, GRIN Verlag, https://www.grin.com/document/9633
